Welcome to tibetanart.com - the website of the British artist and author Robert Beer, who first began to study and practice Tibetan Art in 1970. Showcased in galleries are masterpieces of Tibetan Buddhist and Hindu Tantric art painted by the finest contemporary thangka painters and Newar artists of the Kathmandu Valley.

The main purpose of this site is to reveal the incredible skills of these artists by making their original works available as fine-art Giclee Prints, which are all meticulously accurate in their iconography, colour fidelity and detail. Each painting has a precise description written by Robert Beer, who is working with a master printer to individually produce these archival prints. Also exhibited are the exquisite visionary paintings and mandalas of John F B Miles, along with other deity prints and postcards. Essentially the artists themselves are represented here as some of the most spiritual and divinely inspired painters of our time.

News from tibetanart.com

October 2018 – Viewing Hi-res Images on this website.

My webmaster is still working on restructuring the website for viewing high resolution images on smart-phone and tablets, which at present can only be view on desktop and laptop computers. We have also added an ongoing list of customer ‘Testimonials’, and have recently supplied some large size canvas prints to a few customers. At present these canvas prints would only be available for certain large compositions that can be printed close to their original sizes on either 36 inch (91.5 cm) or 44 inch (112 cm) wide canvas, such as the thangka compositions shown in the 'Featured Art' section below.

Featured Art

Bardo Mandala of Peaceful and Wrathful Deities

This thangka depicts the assembly of the forty-two 'peaceful' (zhi) and fifty-eight 'wrathful' (khro) deities that constitute the Hundred Peaceful and Wrathful Deities of the Zhitro (zhi-khro) or Bardo Mandala. These deities are precisely described in the well-known text of the Bardo Thodol or 'Tibetan Book of the Dead', as they sequentially arise from the heart, throat and crown chakras during the forty-nine day period of the 'intermediate state' (bardo) that occurs between death and rebirth.

Dudjom Tersar Refuge Tree

This thangka, painted by Chewang Dorje in 2003, depicts the Nyingma Refuge Tree or Merit Field assembly that is visualized in the ‘Preliminary Practices’ (ngondro) of the Dudjom Tersar or ‘New Treasures (tersar) of Dudjom’ tradition, which were revealed relatively recently by Dudjom Lingpa and his successor Dudjom Rinpoche. Padmasambhava is said to have composed this concise practice, along with other related practices in the early ninth century, before concealing them as hidden treasures (terma) that would be revealed in a more degenerate time when people had less time to practice the Dharma.

Troma Nagmo (Gold on Black)

The dynamic figure of Troma Nagmo (Tib. khros ma nag mo), the ‘Wrathful Black Mother’ (Skt. Krishna Kali, Krishna Krodhini), dominates the centre of this gold-on-black composition. She is extremely fierce, youthful and nubile like a sixteen-year-old, and black in colour like the darkness at the end of time. With her right leg drawn up and her left leg bent in ‘bow-and-arrow’ posture, she dances upon the golden sun-disc of her lotus seat, with her left foot pressing down upon the breasts of a naked female demon that has been thrown down onto its back. This fierce demon reveals her sharp teeth and vagina, and her breasts are the ‘seat of desire’, thus her corpse represents the concept of the self-cherishing attitude that is sacrificed through the practice of the chod ritual.

Troma Nagmo (Dudjom Troma)

NOTE: The original unbrocaded thangka of this unique composition by Sunlal is for sale, Priced at GBP £2,950.00, approximately US $4,280.00.
The dynamic figure of Troma Nagmo (Tib. khros ma nag mo), the ‘Wrathful Black One’ (Skt. Krishna Kali, Krishna Krodhini), dominates the centre of this composition. She is an extremely fierce form of Vajrayogini, youthful and lusty like a sixteen-year-old, and black in colour like the darkness at the end of time. With her right leg drawn up and her left leg bent in ‘bow-and-arrow’ posture, she dances upon the golden sun and white moon disc of her lotus throne, with her left foot pressing on the breasts and heart of a naked human corpse.